THE RECENT ELLEN GRAY RETROSPECTIVE at the Centre Pompidou aimed to elucidate the worklong underestimatedof a figure identified by curator Cloé Pitiot as a “total” modern artist. Indeed, during a career spanning the first half of the twentieth century, Gray (1878–1976) devoted herself to the design of a stunningly wide array of objects, interiors, and, beginning in the mid-1920s, architecture; she also experimented with photography and collage. This diversity of mediums led Pitiot to locate in Gray’s oeuvre “a conception and creation process that falls under the Gesamtkunstwerk.”

Julia Rometti and Victor Costales’s exhibition “El Perspectivista” was born of a sociological and philosophical exploration of what the Brazilian anthropologist Eduardo Viveiros de Castro calls “Amerindian Perspectivism,” a naturalist worldview wherein animals, plants, spirits, and humans are understood to apprehend the same reality from different points of view. The resulting body of work includes black-and-white photographs, projected slide comparisons, zine-like photocopied pamphlets, volcanic rocks, and concrete tiles. Emphasizing the quasi-scientific nature of their practice, Rometti and